Gnarls Barkley

Gnarls Barkley
St. Elsewhere


I was originally sent their single, and truthfully half-listened to it. Later last week, I recognized a snippet of the same song in the background of a Sopranos episode. Instantly I recognized it, and gave it another spin, this time with the well-deserving attention I should have given it initially.

Now before I get into the formal review, let me explain my musical taste & background (for those who don't know me). I was mostly raised on 50's rock n' roll and 80's hair metal. This led me to my Middle School days in which grunge was the happening thing. Between Middle School and High School, I saw Rancid & The Ramones at Lollapalooza '96. Thus began my love/fascination with Punk Rock. I've always thrived off the different off-shoots of punk rock, but have always gravitated to the originating bands behind the lifestyle.

In any case...

This record is really great. It officially releases May 9th, but being the crafty individual I am, was able to find the album in its entirety. The group, tho they lead to be more mysterious, is a collaboration by famed producer Danger Mouse and Goodie Mob Vet Cee-Lo. Goodie Mob has a more obvious history, whereas Danger Mouse is a little bit more fresh to the public eye, although gaining much acclaim with his release on cult-hit The Grey Album, where he mixed Jay-Z's Black Album with The Beatles White Album.

It's Easy to compare this record with fellow Atlantan's Outkast, but the differences exceed the similarities. For one, while Outkast's most recent record, at times, seems overproduced, St. Elsewhere comes off confident and raw, putting forth only what matters most; the music. There's a sort of organic touch to the record as a result of the vocals, that have a definite old-time way about them. The backbone to group is the mostly mid-tempo beats that have a simple flow, but are just fitting for the vocal styling.

The album starts off with probably the most Outkast-ish song "Go-Go Gadget Gospel" that takes you thru a fast-paced journey with wandering chorus vocals and a thundering bass-line. The next track is their released single titled "Crazy." I've been told this song is best listened (danced) to in your underwear. Not being that type of person (female), I'm forced to enjoy it in a less physical fashion. This may be the most stripped down song on the album, but for that reason, the vocals seem to be explore their range as they deserve. The juxtaposition of the vocals to the beats almost make you wonder if the vocals are being sampled from an 40's Southern-roots song. The next song is a cover of Violent Femmes "Gone Daddy Gone" that doesn't stray too far from the original, but has a more updated pace and styling you're coming to expect from these two. The later half of the album takes a bit more of a darker tone with songs like "Necromancer" & "Who Cares" that rely on dirty beats and a grittier subject matter. Finally, "Storm Coming" completes the album with a varying tempo and the most heart-felt vocal performance on the album.

Needless to say, I highly recommend this album. There's something here most groups of similar styling can't grasp. The performance of an up-and-coming producer, and an established performer, is a relationship many have strived for, but few have achieved. It's exciting to see where this group will go from here, all the while having not yet released their first record St. Elsewhere.